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| Foreword | |
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| Storm Warnings | |
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| Aunt Jennifer's Tigers | |
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| Vertigo | |
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| The Ultimate Act | |
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| What Ghosts Can Say | |
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| The Kursaal at Interlaken | |
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| Reliquary | |
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| Purely Local | |
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| A View of the Terrace | |
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| By No Means Native | |
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| Air without Incense | |
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| For the Felling of an Elm in the Harvard Yard | |
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| A Clock in the Square | |
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| Why Else But to Forestall This Hour | |
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| This Beast, This Angel | |
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| Eastport to Block Island | |
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| At a Deathbed in the Year Two Thousand | |
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| Afterward | |
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| The Uncle Speaks in the Drawing Room | |
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| Boundary | |
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| Five O'Clock, Beacon Hill | |
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| From a Chapter on Literature | |
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| An Unsaid Word | |
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| Mathilde in Normandy | |
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| At a Bach Concert | |
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| The Rain of Blood | |
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| Stepping Backward | |
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| Itinerary | |
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| A Revivalist in Boston | |
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| The Return of the Evening Grosbeaks | |
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| The Springboard | |
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| A Change of World | |
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| Unsounded | |
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| Design in Living Colors | |
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| Walden 1950 | |
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| Sunday Evening | |
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| The Innocents | |
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| "He Remembereth That We Are Dust" | |
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| Life and Letters | |
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| For the Conjunction of Two Planets | |
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| The Prisoners | |
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| Night | |
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| The House at the Cascades | |
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| The Roadway | |
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| Pictures by Vuillard | |
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| Orient Wheat | |
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| Versailles | |
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| Annotation for an Epitaph | |
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| Ideal Landscape | |
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| The Celebration in the Plaza | |
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| The Tourist and the Town | |
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| Bears | |
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| The Insusceptibles | |
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| Lucifer in the Train | |
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| Recorders in Italy | |
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| At Hertford House | |
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| The Wild Sky | |
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| The Prospect | |
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| Epilogue for a Masque of Purcell | |
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| Villa Adriana | |
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| The Explorers | |
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| Landscape of the Star | |
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| Letter from the Land of Sinners | |
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| Concord River | |
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| Apology | |
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| Living in Sin | |
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| Autumn Equinox | |
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| The Strayed Village | |
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| The Perennial Answer | |
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| The Insomniacs | |
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| The Snow Queen | |
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| Love in the Museum | |
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| I Heard a Hermit Speak | |
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| Colophon | |
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| A Walk by the Charles | |
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| New Year Morning | |
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| In Time of Carnival | |
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| The Middle-Aged | |
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| The Marriage Portion | |
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| The Tree | |
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| Lovers Are Like Children | |
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| When This Clangor in the Brain | |
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| A View of Merton College | |
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| Holiday | |
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| The Capital | |
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| The Platform | |
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| Last Song | |
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| The Diamond Cutters | |
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| At Majority | |
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| From Morning-Glory to Petersburg | |
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| Rural Reflections | |
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| The Knight | |
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| I kissed you, bride and lost, and went | |
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| Well, you are tougher than I thought | |
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| The Absent-Minded Are Always to Blame | |
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| Euryclea's Tale | |
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| September 21 | |
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| After a Sentence in "Malte Laurids Brigge" | |
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| You, once a belle in Shreveport | |
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| Banging the coffee-pot into the sink | |
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| A thinking woman sleeps with monsters | |
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| Knowing themselves too well in one another | |
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| Dulce ridens, dulce loquens | |
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| When to her lute Corinna sings | |
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| "To have in this uncertain world some stay | |
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| "You all die at fifteen," said Diderot | |
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| Not that it is done well, but | |
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| Well | |
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| Passing On | |
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| The Raven | |
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| Wedged in by earthworks | |
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| Let me take you by the hair | |
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| Spirit like water | |
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| Antinous: The Diaries | |
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| Juvenilia | |
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| Double Monologue | |
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| A Woman Mourned by Daughters | |
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| The Evil Eye | |
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| The Confrontation | |
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| Memorabilia | |
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| Consanguinity | |
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| The Mirror | |
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| The Covenant | |
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| To the Airport | |
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| The Afterwake | |
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| Artificial Intelligence | |
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| A Marriage in the 'Sixties | |
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| First Things | |
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| Attention | |
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| End of an Era | |
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| Rustication | |
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| Apology | |
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| Sisters | |
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| In the North | |
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| The Classmate | |
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| Peeling Onions | |
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| Ghost of a Chance | |
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| The Well | |
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| Novella | |
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| Face | |
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| Prospective Immigrants Please Note | |
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| Likeness | |
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| The Lag | |
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| Always the Same | |
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| Peace | |
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| The Roofwalker | |
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| At the Jewish New Year | |
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| Moving in Winter | |
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| Necessities of Life | |
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| In the Woods | |
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| The Corpse-Plant | |
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| The Trees | |
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| Wind rocks the car | |
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| They're tearing down, tearing up | |
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| We have, as they say | |
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| Our words misunderstand us | |
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| Dead winter doesn't die | |
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| Breakfast in a Bowling Alley in Utica, New York | |
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| Open-Air Museum | |
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| Sex, as they harshly call it | |
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| That "old last act"! | |
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| The Parting | |
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| The Crib | |
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| Her Waking | |
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| The Stranger | |
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| You are falling asleep and I sit looking at you | |
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| Now let's away from prison - | |
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| Mourning Picture | |
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| "I Am in Danger - Sir - " | |
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| Halfway | |
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| An old shoe, an old pot, an old skin | |
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| Still, a sweetness hardly earned | |
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| Your flag is dried-blood, turkey-comb | |
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| Skin of wet leaves on asphalt | |
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| Noon | |
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| Not Like That | |
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| The Knot | |
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| Any Husband to Any Wife | |
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| Side by Side | |
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| Thunder is all it is, and yet | |
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| Whatever you are that weeps | |
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| The power of the dinosaur | |
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| A soldier is here, an ancient figure | |
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| Over him, over you, a great roof is rising | |
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| Moth Hour | |
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| Focus | |
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| Face to Face | |
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| The Song of the Foolish Bees | |
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| My Brother | |
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| Fever | |
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| Eben Haezer | |
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| Accountability | |
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| Statue | |
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| Our Family | |
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| Homecoming | |
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| Sleepwalking | |
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| To Judith, Taking Leave | |
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| Roots | |
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| The Parting: II | |
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| White Night | |
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| Winter | |
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| Orion | |
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| Holding Out | |
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| Flesh and Blood | |
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| In the Evening | |
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| Missing the Point | |
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| City | |
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| Dwingelo | |
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| The Demon Lover | |
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| Jerusalem | |
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| Charleston in the 1860's | |
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| Night Watch | |
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| There Are Such Springlike Nights | |
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| The Winter Dream | |
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| Summer in the Country | |
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| The Demonstration | |
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| Night in the Kitchen | |
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| 5:30 A.M. | |
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| The Break | |
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| There's a secret boundary hidden in the waving grasses | |
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| On the terrace, violins played | |
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| The Key | |
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| Picnic | |
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| Postcard | |
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| The Book | |
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| Abnegation | |
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| Women | |
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| Implosions | |
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| To Frantz Fanon | |
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| Continuum | |
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| On Edges | |
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| Violence | |
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| The Observer | |
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| Nightbreak | |
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| Gabriel | |
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| The big star, and that other | |
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| Your face | |
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| If, says the Dahomeyan devil | |
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| Crusaders' wind glinting | |
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| The strain of being born | |
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| The Rafts | |
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| The clouds are electric in this university | |
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| The ones who camped on the slopes, below the bare summit | |
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| In Central Park we talked of our own cowardice | |
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| Did you think I was talking about my life? | |
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| Blacked-out on a wagon, part of my life cut out forever - | |
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| When they mow the fields, I see the world reformed | |
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| Armitage of scrapiron for the radiations of a moon | |
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| When your sperm enters me, it is altered | |
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| The sapling springs, the milkweed blooms: obsolete Nature | |
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| The friend I can trust is the one who will let me have my death | |
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| Last night you wrote on the wall: Revolution is poetry | |
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| A dead mosquito, flattened against a door | |
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| So many minds in search of bodies | |
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| The order of the small town on the riverbank | |
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| If these are letters, they will have to be misread | |
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| From here on, all of us will be living | |
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| A piece of thread ripped-out from a fierce design | |
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| November 1968 | |
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| Study of History | |
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| Planetarium | |
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| My neighbor, a scientist and art-collector, ... | |
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| To imagine a time of silence | |
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| "People suffer highly in poverty ... | |
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| We lie under the sheet | |
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| I am composing on the typewriter late at night,... | |
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| I Dream I'm the Death of Orpheus | |
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| Violently asleep in the old house | |
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| One day of equinoctial light after another | |
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| A man, a woman, a city | |
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| Ideas of order ... Sinner of the Florida keys | |
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| Late at night I went walking through your difficult wood | |
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| They say, if you can tell, clasped tight under the blanket | |
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| There are days when I seem to have nothing | |
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| Frost, burning. The city's ill | |
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| Pain made her conservative | |
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| Suppose you stood facing | |
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| On a screen as wide as this, I grope for the titles | |
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| Suppose we had time | |
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| The island blistered our feet | |
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| When I close my eyes | |
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| To record | |
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| Foreknown. The victor | |
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| Hopes sparkle like water in the clean carafe | |
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| "I am up at sunrise | |
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| Six months back | |
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| Breakpoint | |
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| Relevance | |
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| Memory | |
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| Time and Place | |
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| Revelation | |
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| Our whole Life | |
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| Your Letter | |
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| Stand Up | |
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| The Stelae | |
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| Snow | |
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| That Chinese restaurant was a joke | |
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| Knocked down in the canefield | |
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| Beardless again, phoning | |
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| At the wings of the mirror, peacock plumes | |
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| The cabdriver from the Bronx | |
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| The Photograph of the Unmade Bed | |
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| Language as city:: Wittgenstein | |
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| To know the extremes of light | |
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| To love, to move perpetually | |
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| At the end of Alphaville | |
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| Interior monologue of the poet | |
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| A Valediction Forbidding Mourning | |
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| We were bound on the wheel of an endless conversatIon | |
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| Ghazal V (adapted from Mirza Ghalib) | |
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| The old blanket. The crumbs of rubbed wool turning up | |
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| In my imagination I was the pivot of a fresh beginning | |
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| Of simple choice they are the villagers; ... | |
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| You are beside me like a wall; ... | |
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| Picking the wax to crumbs ... | |
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| A woman waking behind grimed blinds... | |
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| (Newsreel) | |
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| They come to you with their descriptions of your soul | |
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| The mare's skeleton in the clearing: another sign of life | |
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| I was looking for a way out of a lifetime's consolations | |
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| We are driven to odd attempts; ... | |
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| Whatever it was: the grains of the glacier... | |
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| The Days: Spring | |
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| Tear Gas | |
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| Notes | |
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| Index of Titles and First Lines | |